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Russ Troutt (291 KP) rated The Old Man and the Gun (2018) in Movies
Jun 28, 2019
The Old Man & the Gun was a beautifully shot and fun movie that was a nice tip of the hat to Robert Redford's career. Robert is surrounded by an all-star cast including Sissy Spacek, Casey Affleck, Danny Glover, and Tom Waits, so what more do you need to know? Well, I can tell you that is also mostly a true story. If this is indeed Robert Redford's last movie he went out in style, and I don't think it's just because he looked sharp over the years in all of his movies, I think he actually knew what he was doing.
Bookapotamus (289 KP) rated The Philosopher's Flight in Books
May 29, 2018
For anyone who has been suffering withdrawal from the end of a certain magical boy wizard series, The Philosopher's Flight by Tom Miller is the perfect antidote! It's clever, and sharp, but also a quick read based on alternative history where special "powers" can do different things, and one boys journey to"fit in" this world where girls rule! The opposite sexism is interesting (women typically have the most refined powers and go to war, do the dangerous stuff, etc.) and Robert wants to do everything the women do - and we see if he attains that goal, while facing some pretty crazy "roadblocks" along the way.
I love stories that take me away to another place - get me out of reality and imagine what life would be like if things were "different". And this book does just that. It's very clever how it's pretty historically accurate, just with this twist of Sigilry, these signs and symbols drawn to move energy and ultimately produce some sort of effect (hovering/flying, restoring health, moving an object, sending messages). There are great stories of friendship, interesting characters, and stories of love as well. All wrapped up in a creative story of action, adventure and social-awareness.
There are a few "racy" scenes...so I'd recommend a more mature audience, but its fantastic all-around in general. I'm excited to see if the Philosopher Flies Again! Thanks NetGalley!
I love stories that take me away to another place - get me out of reality and imagine what life would be like if things were "different". And this book does just that. It's very clever how it's pretty historically accurate, just with this twist of Sigilry, these signs and symbols drawn to move energy and ultimately produce some sort of effect (hovering/flying, restoring health, moving an object, sending messages). There are great stories of friendship, interesting characters, and stories of love as well. All wrapped up in a creative story of action, adventure and social-awareness.
There are a few "racy" scenes...so I'd recommend a more mature audience, but its fantastic all-around in general. I'm excited to see if the Philosopher Flies Again! Thanks NetGalley!
Adam McKay recommended Hustlers (2019) in Movies (curated)
Movie Metropolis (309 KP) rated Joker (2019) in Movies
Oct 14, 2019
I’ve never left the cinema more unnerved than I did after watching Todd Phillips’ first foray in the superhero genre. Joker is a frequently violent, often grotesque and regularly intense portrayal of the iconic character that’s already receiving praise and backlash in equal measure from those in the critic community.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
With development originally beginning way back in 2016, Joaquin Phoenix walking out of interviews and the press junket being cancelled altogether, it’s safe to say that the path to release has not been easy, but what’s the finished product like?
Forever alone in a crowd, failed comedian Arthur Fleck (Phoenix) seeks connection as he walks the streets of Gotham City. Arthur wears two masks, the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he’s part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
Director of The Hangover trilogy, you’d be forgiven for thinking that Phillips is an odd choice to helm a picture like this, but his darkly comedic roots shine through in Joker and add a much-needed lightness of touch over the course of the running time. Without these pockets of humour, Joker would just be far too murky, more so than it already is.
Phoenix is absolutely astounding and his physical transformation defies words. Alongside Heath Ledger, these two very different portrayals of this iconic character are fully deserving of as much recognition as possible. Arguably however, Phoenix delivers the best iteration yet and one that perhaps needed even more commitment – this is a two-hour film dedicated to the character, whereas the Joker has always been a supporting part of previous films.
From the frame devoid of any muscle, dark circles under his eyes and wrinkles etched on his face, Phoenix’s dedication to this role is on another level to anything we have seen before. As his transformation from troubled Arthur Fleck to criminal mastermind gets underway, this only serves to highlight the acting prowess of this incredible performer. Elsewhere, supporting cast members like Robert De Niro, Frances Conroy and Zazie Beets are also wonderful in their roles of varying screen-time, but as Joker is a film about the singular character, they stay in the background, and rightly so.
The script too is exceptionally written. Phillips and co-writer Scott Silver, who also wrote 8 Mile, deliver a tightly wound screenplay that is at times just too tense for its own good. This is never a film you can sit back and relax to, it feels like you’re on the edge of your seat for the full two hours. The comedic notes that I alluded to earlier nicely round off some of the sharp edges however, but make no mistake, this is a brutal and unforgiving film.
The comedic notes… nicely round off some of the sharp edges
Criticism has been levelled already about the significance this film may have on those who already actively promote the character’s actions, and it’s easy to see why people are concerned. However, as an art form, Joker doesn’t need to be processed in such a way. Yes, it’s brutal, yes, it’s bloody and yes it sometimes hits too close to home about the issues we face in the real world, but cinema is escapism and that’s what it offers.
To look at it’s clear that the very modest of budget of $55million has been put to good use. The city of Gotham feels dirty, grimy and about to erupt and this is exactly how we as the audience want it to be. The uprising is coming and with each grimace from Phoenix’s face, we get closer and closer to that critical moment.
For me that critical moment occurs a little too late into the film and with not a lot of time left after this point, Joker tries to wrap up its loose ends too quickly, but this is a miniscule criticism in a deeply impressive and immersive cinema experience.
The score too is excellent. Icelandic composer Hildur Ingveldardóttir Guðnadóttir has worked on films like The Revenant and Sicario 2 and that gritty realism she brought to those films has been replicated here. It’s a soaring orchestral score populated with some sharp string solos that work perfectly with the character.
Overall, Joker is a masterpiece. Phoenix’s performance is one of the best I’ve ever had the pleasure of witnessing in the cinema and to go alongside that commitment the audience is treated to an engrossing script and beautiful score. Where DC has failed in the past is in forgetting to carve their own niche. Marvel has the 12A game all sewn up and there’s no point in competing there. Joker is the direction that should have been taken from the very beginning and it’s one of the best films I’ve seen in years.
Brutal? Yes. Beautiful? Absolutely.
JT (287 KP) rated Killer Elite (2011) in Movies
Mar 10, 2020
Just another mindless Statham master-class of ass kicking? Think again people, this one is a whole different ball game, and one that sets this easily one of the Stath’s best to date. Paired alongside Robert De Niro would be an honour in itself for any actor and the rapport between the two was like they had been lifelong friends.
Despite De Niro’s relatively smallish part he still gets his moment in the limelight, and makes the most of the opportunity, with a few witty pieces of dialogue thrown in, we all know he can handle an automatic weapon.
It’s more than just an action film though, it’s part drama part spy thriller
This is all about Danny (Jason Statham) and his group of deadly assassins, Davies, played by Prison Break’s Dominic Purcell and Meier (Aden Young) who set out to take down three former SAS soldiers who are alleged to have killed a dying Sheik’s three sons. All this in return for the release of Hunter, simply put “You do this job, or Hunter’s a dead man.”
Set in the 80s it gives the film a real retro feel to it, and the action is balls and all, there is no CGI here. From an opening sequence centred on a assassination attempt to close hand to hand combat, director McKendry goes a little Bourne-esque with his sharp direction and tight camera shots.
Clive Owen sporting the film’s dodgiest tash is ultra slick and uber cool as the dogsbody of a secret society called The Feather Men which is actually a book by Ranulph Fiennes to which the film is based. Why The Feather Men? Because they have the lightest touch, apt really when Owen goes about his business heavy handed.
It’s more than just an action film though, its part drama part spy thriller. The script is extremely well written with intricate characters that you can care about, rather than go to watch kick the shit out of each other.
The film does jump from a variety of locations, from the Middle East to London to Paris to the outback bush of Australia, it can be hard to follow and keep up with just where they are. But a close eye will leave no confusion whatsoever.
It’s a great debut feature from McKendry and will do his stock no harm at all, and for Statham fans this one has got a bit more meat on it to chew through.
Despite De Niro’s relatively smallish part he still gets his moment in the limelight, and makes the most of the opportunity, with a few witty pieces of dialogue thrown in, we all know he can handle an automatic weapon.
It’s more than just an action film though, it’s part drama part spy thriller
This is all about Danny (Jason Statham) and his group of deadly assassins, Davies, played by Prison Break’s Dominic Purcell and Meier (Aden Young) who set out to take down three former SAS soldiers who are alleged to have killed a dying Sheik’s three sons. All this in return for the release of Hunter, simply put “You do this job, or Hunter’s a dead man.”
Set in the 80s it gives the film a real retro feel to it, and the action is balls and all, there is no CGI here. From an opening sequence centred on a assassination attempt to close hand to hand combat, director McKendry goes a little Bourne-esque with his sharp direction and tight camera shots.
Clive Owen sporting the film’s dodgiest tash is ultra slick and uber cool as the dogsbody of a secret society called The Feather Men which is actually a book by Ranulph Fiennes to which the film is based. Why The Feather Men? Because they have the lightest touch, apt really when Owen goes about his business heavy handed.
It’s more than just an action film though, its part drama part spy thriller. The script is extremely well written with intricate characters that you can care about, rather than go to watch kick the shit out of each other.
The film does jump from a variety of locations, from the Middle East to London to Paris to the outback bush of Australia, it can be hard to follow and keep up with just where they are. But a close eye will leave no confusion whatsoever.
It’s a great debut feature from McKendry and will do his stock no harm at all, and for Statham fans this one has got a bit more meat on it to chew through.
Daniel Boyd (1066 KP) rated Widows (2018) in Movies
Nov 14, 2018 (Updated Nov 14, 2018)
Outstanding performances from the entire cast (3 more)
Phenomenal Direction
Clever Cinematography
A Brilliant Script With Sharp Dialogue
The Best Movie I Have Seen This Year
Widows is an outstanding thriller from Steve McQueen. It stars a brilliant Viola Davis as Veronica Rawlings at the top of her game as a widow of her criminal husband. He and his crew died during the heist and now she and the other widows of the recently deceased crew decide to complete the heist and take the money for themselves. That is the basic plot outline, but it is actually a lot more in depth and layered than that, embroiled in politics and gang rivalries, amongst even more complex elements. However, although there are a lot of moving parts in the film, it never seems confused or messy. It doesn't treat it's audience like idiots either, as long as you are paying attention.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
The cast are astonishing in the movie and I truly believe that is the sign of a great director getting the best out of his actors. Viola Davis is an acting powerhouse, making you want to cry one moment and then stand up and jump into battle with her the next. That woman could read the phonebook and make it sound convincingly intense. She is supported by a fantastic turn from Michelle Rodrigez, an actress who I have been a fan of for years, but can sometimes be known to come across fairly wooden. Not here, she is convincing and passionate in every scene she appears in. I also really liked seeing Elizabeth Debecki playing against type here. She is usually cast as a 'perfect,' type of character, such as Tom Hiddleston's love interest in Night Manager or as a member of the perfect alien race in Guardians of The Galaxy. Here she is a much more realistic, down to earth character. Cynthia Erivo, who came out of nowhere and blew me away in Bad Times At The El Royale, also appears here as the crew's driver and gives a genuine, energetic performance who is also the first one to stand up to Veronica's hard-ass attitude. Carrie Coon appears briefly as another widow, but her role is more of a cameo than anything else, it is still important to the story though towards the film's conclusion.
The male actors in the film are equally as brilliant as their female counterparts. I don't want to give too much away about Liam Neeson's Henry Rawlings, but he is convincing and engaging in every part of his performance. Jon Bernthal is slowly becoming the king of appearing in small impactful roles in big ensemble movies. He has already done this in Wolf Of Wall Street, Baby Driver, Sicario and Wind River and he does it here too appearing in a small but memorable role as one of Henry's crew. Colin Farrell and Robert Duvall are great as usual here, as a believable father and son duo. Daniel Kaluuya deserves a special shout out as the movie's main antagonist. This role really gives Kaluuya a chance to flex his more cruel acting skills and show off his versatility as a performer.
The script written by McQueen and Gillian Flynn is full of razor sharp wit and electrifying moments. This is the type of golden material that most actors dream of getting to work with. The movie is shot by Sean Bobbitt who uses an array of clever camera angles and techniques to help convey the mood of each scene. Bobbit also shot Hunger, Shame and 12 Years a Slave and there is a reason that McQueen continues to use him to shoot his films. The score and audio mixing was also effective and helped to amplify the atmosphere throughout the movie.
Overall, Widows is a perfect storm of extremely high quality technical aspects and exquisite performances from an exceptionally talented ensemble of actors. If you didn't get what you wanted out of a female led heist thriller from Ocean's 8, then go out and see this masterpiece asap.
MaryAnn (14 KP) rated CSB Worldview Study Bible in Books
Nov 4, 2019
The CSB Worldview Study Bible features extensive worldview study notes and articles by notable Christian scholars to help Christians better understand the grand narrative and flow of Scripture within the biblical framework from which we are called to view reality and make sense of life and the world. Guided by general editors David S. Dockery and Trevin K. Wax, this Bible is an invaluable resource and study tool that will help you to discuss, defend, and clearly share with others the truth, hope, and practical compatibility of Christianity in everyday life.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Features include:
Extensive worldview study notes
Over 130 articles by notable Christian scholars
Center-column references
Smyth-sewn binding
Presentation page
Two ribbon markers
Two-piece gift box, and more
General Editors: David S. Dockery and Trevin Wax
Associate Editors: Constantine R. Campbell, E. Ray Clendenen, Eric J. Tully
Contributors include: David S. Dockery, Trevin K. Wax, Ray Van Neste, John Stonestreet, Ted Cabal, Darrell L. Bock, Mary J. Sharp, Carl R. Trueman, Bruce Riley Ashford, R. Albert Mohler Jr., William A. Dembski, Preben Vang, David K. Naugle, Jennifer A. Marshall, Aida Besancon Spencer, Paul Copan, Robert Smith Jr., Douglas Groothuis, Russell D. Moore, Mark A. Noll, Timothy George, Carla D. Sanderson, Kevin Smith, Gregory B. Forster, Choon Sam Fong, and more.
The CSB Worldview Study Bible features the highly readable, highly reliable text of the Christian Standard Bible (CSB). The CSB stays as literal as possible to the Bibles original meaning without sacrificing clarity, making it easier to engage with Scriptures life-transforming message and to share it with others.
This is a wonderful Bible that not only gives us God's word but teaches through credible editors about the Christians view of the world. There are articles that show us the Biblical view of that issue; such a: the Biblical view of music, Personal Finances. Ther is an article on how Christians should relate to the government along with various other interesting articles.
This is a great study Bible for new believers, for discipling, for those interested in how God's word relates to issues around us today. How we as Christians should respond to a world that is turning against Christians.
This is a beautiful Bible, that is easy to read and has full-color maps. This will be a great addition to anyone's library.
CSB Worldview Study Bible
I received this book free from the publisher. I was not required to write a positive review and the opinions I have expressed are my own. I am disclosing this in accordance with the Federal Trade Commissions 16 CFR, Part 255 : Guides Concerning the Use of Endorsements and Testimonials in Advertising.
Darren Fisher (2454 KP) rated 13 Dolls In Darkness (2017) in Movies
Jul 24, 2022
I have been an obsessive fan of horror films since I was a kid in the 70's. Brought up on Hammer and Universal monster films it wasn't long before I delved into pre-cert exploitation films and that is where my preference has been ever since.
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Over the last 20 years I have felt that the horror genre hasn't really offered it's fans anything new (bar a few exceptions). Having been left despondent, disappointed and bored senseless by the over-saturation of remakes, reboots and just plain dull horror fare, it comes with great surprise that a black and white silent film from Australia would be the breath of fresh air that the horror genre desperately needs.
The plot of 13 Dolls is pretty straightforward. Marjorie receives a letter from her ailing mother to return home after a 13 year absence. On her return home Marjorie realises that things are not what they seem...
Written and directed by the talented Zeda Müller, this is a film that demands your attention from the start. With its eerie score and moody camerawork it sets a very atmospheric and claustrophobic feel to proceedings. It's a great take on the 'old dark house' horrors of a bygone era, Robert Wiene and Tod Brownings early work springs to mind... yet draws on influences from the likes of Dario Argento, Mario Bava's gothic horrors, giallo and slasher films (there are some nicely placed references for the sharp-eyed viewer). The fact that this is a silent film (I'll get to the score in a bit) actually works in its favour. Gone are the usual mundane dialogue pieces that fill out most horror films these days and the viewer is reintroduced to dialogue cards when required to move the story along. This also means that the actors are given room to act through expression and emotion and they all do a sterling job.
The masterstroke of 13 Dolls though is the excellent use of camerawork and soundtrack. The soundtrack is interspliced with sound effects (church bells, howling wind, dripping taps etc) and moody piano/tension building synths, all used to full sensory effect. The footage and score intertwine brilliantly together and I found some scenes genuinely eerie and creepy (a rare feeling for me whilst watching a new film these days).
Overall 13 Dolls is a mesmerising experience, interspersed with some cleverly executed gore scenes, and at a scant 75 minutes long, it motors along at a cracking pace.
So, you have probably guessed that I liked this film a lot. I highly recommend checking it out, especially if you are looking for something different. It's a great film and I for one am looking forward to Zeda Müller & Co's next venture...!
Bob Mann (459 KP) rated The Magnificent Seven (2016) in Movies
Sep 29, 2021
A Hornery Exit.
As a big fan of the original – a staple of many Bank Holiday afternoons in my youth – I was prepared to be sniffy about this remake and came to the film on my high-horse (I left that tied to the rail outside the cinema by the way). But I was surprised to have my expectations reset.
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
Possibly on the basis that Trump has been given the Mexican’s a good bashing lately, the villain of the piece in this film is updated from Mexican bandit Calvera to Sacremento based land-snatcher and all round bad-egg Bartholomew Bogue (an expressionless Peter Sarsgaard). After ripping through some of the inhabitants of Rose Creek in a brutal pre-title sequence, widowed sharp-shooter Emma Cullen (Haley Bennett, “The Equalizer”) heads into the West on a recruiting mission for hired guns. She first recruits the bounty hunter Chisholm (sing “Chisum, John Chisum…”… no, sorry different Western) played by Denzel Washington. Washington matches Yul Brynner’s famous black outfit, and unlike Brynner is obviously able to finish off the ensemble naturally!
They recruit another six (who’d have thought it?) including wise-guy gambler Faraday (Chris “Guardians of the Galaxy” Pratt); famed confederate sniper Goodnight Robicheaux (Ethan Hawke); his nifty knife throwing Asian sidekick (but good for the Far East box office) Billy Rocks (Bjung-hun Lee, from Terminator: Genisys); and religious bear-of-a-man Indian-hunter Jack Horne (Vincent D’Onofrio, “Jurassic World”). After trying to whip the incompetent townsfolk into shape, and setting some Home-Alone style surprises, the stage is set for a showdown as Bogue whips up an army to re-take “his” town.
I like classic Westerns, with John Ford’s Rio Bravo being a particular favourite. In my view the problem with many modern Westerns is that they try too hard to shock (Tarentino’s recent “Hateful 8” was a case in point: a promising start ruined by gratuitous over-the-top violence). “The Magnificent Seven” doesn’t make that mistake, and while the squib-master and blood-bag boy are heavily employed throughout, nothing is too excessive: in fact, my view – and I don’t often tend in this direction – is that the censors rather over-egged the UK 12A rating on this one and could have gone with a 12. Director Antoine Fuqua has produced a film that is highly respectful of its heritage: perhaps to the point where many scenes might be deemed to be clichéd. But I personally warmed to that.
Denzel Washington was born to be in a Western like this and the emerging Chris Pratt does his star potential no harm by turning in a stellar performance adding both levity – with some whip-sharp lines – and screen presence in the role made famous by Steve McQueen. (Although no one comes close to the screen presence of McQueen…. Look up “real man” in the dictionary and his picture is there!) Also effective is Ethan Hawke in the nearest thing to the Robert Vaughan character in this film.
Where the adapted script by Richard Wenk and Nik Pizzolatto falters somewhat is in the motivations of the characters, which come across as superficial and unconvincing. (Perhaps “selling” was a whole lot easier in the Old West?) It is even unclear at the end of the film whether the survivors (and I hate to be the bearer of bad news, but the seven don’t all make it!) actually take their payment, or even a “share of the gold” that the town is sitting on. It makes for an unsatisfactory closure. The degree of racial harmony present in the film is also difficult to buy into, and the script could have made something more of this.
The film soundtrack marks the swan-song of the late James Horner, so tragically killed in a plane crash last year at the age of just 61. As the natural successor to the great John Williams and the late Jerry Goldsmith, Horner’s loss was a terrible one. The film is dedicated to him. Although the soundtrack was completed by Simon Franglen, there are flourishes of classic Horner, most notably in the first Rose Creek showdown scene. There is also a treat to the ears over the closing credits which is very welcome.
Although the film draws natural comparison with its 5* classic predecessor, this is a good film in its own right – a genuinely pleasant surprise. Perhaps its done well enough that we might get to now see a remake of “The Return of the Seven”. I hope so… “the Western is dead… long live the Western”!
BankofMarquis (1832 KP) rated BlacKkKlansman (2018) in Movies
Aug 20, 2018
The first real Oscar contender of 2018
The first shot of the 2018 Oscar race has been fired and it is Spike Lee's BLACKkKLANSMAN. If you are an "Oscar completest" I highly recommend you check this film out as you will be hearing it's name called (probably many times) when the Oscar nominations are revealed.
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)